Lyra Rembrandt Dry White pencils are pastel pencils made with titanium dioxide and white clay combined with oil-free plant-based binders perfectly calibrated to guarantee optimum performance on paper. The finely ground pigment is ideal for soft blending and well-defined highlights. Mainly used in combination with other dry pencils, such as the warm tones of charcoal, sepia, sanguine and coloured clays, white dry, when used for highlighting, is also perfect for making quick and suggestive touches with oil-based, black or coloured pencils on semi-coarse fine-grained paper white. On a black background their yield is extraordinary thanks to the high concentration of pigment.
Lyra Rembrandt Oil White pencils are oil pastel pencil made with titanium dioxide and white clay combined with oils and waxes to make the core smooth, dense and pasty. It does not blend but does mix with other oil-based pencils by overlaying or dragging. It is not easily erasable due to the large amount of pigment, but this does make it very covering. The white pencil, oil or dry, is ideal for contrasting lines and softening the brightest features.
Lyra Rembrandt Dry Sanguine pencils are made from iron oxides and clays combined using natural binders. On paper it leaves a characteristic reddish colour stroke, reminiscent of blood. The medium, bright, non-orange tone is reminiscent of the colour used by Leonardo and Michelangelo. It blends perfectly thanks to the fine milling of the pigments which penetrate into the fibres of the paper in a uniform and even manner, starting from the full, dark and saturated tone to reach a light reddish and transparent shade. Easy to use for hatching, it can easily be erased with a putty rubber and should be sharpened with a knife, like all Fine Arts pencils, making a precision tip with sandpaper if required. All pictures created using this technique require the use of fixative.
Lyra Rembrandt Oil Sanguine pencils are made with finely milled oxides and clays combined using oils giving a thick and full-bodied consistency which leaves a compact, soft and decisive stroke on white paper, creating a marked contrast between this pencil and the warm tone of the sanguine dry. Applied on satin or fine-grained paper, this pencil leaves a thick, uniform and intense stroke.
Lyra Rembrandt Dry Sepia Light pencils are slightly darker than the sanguine pencil, a perfect midway point, but the shade is still reddish and very intense and perfect for creating shadows when used together with the sanguine pencil. The 5mm core is rich in pigment and fragile due to its purity. It can be blended perfectly from its full, saturated tone to a mere veiling. The Dry Sepia Dark pencil has a warm brown tone, vaguely reddish, very similar to the mummy brown to achieve contrasts and give a marked depth to a drawing. Concentration is very high and the pencil is very delicate and guarantees maximum intensity.
Sharpening with a knife creates a long tip which can be defined using sandpaper; perfect for hatching and chiaroscuro. they can be erased with a putty rubber proportionally to the intensity of the stroke.
Lyra Rembrandt Oil Sepia pencils have the same pigments as those used in the dry version, the same concentration, a plant-based oil binder and a minimal quantity of waxes constitute a product which can be used to get completely different strokes. Full-bodied, defined and rich strokes which are not blendable but can be layered and mixed into different tones by calibrating the pressure applied by the tip on the paper. Perfect pencils for sketches and outlines which stand out in cleanliness and intensity. The stroke adheres perfectly to the substrate, with total coverage, it is almost unerasable but can be diluted or blended with a brush moistened with linseed oil or other medium for oil colours. Both Sepia dark and Sepia light oil is also blendable with other oil-based pencils.